Great Movie Monologues from the 20th Century: From Jaws to Clueless

The film’s monologue serves multiple purposes. It can be for exhibition, as in Return to the future when Doc Brown (Christopher Lloyd) explains everything you need to travel through time: plutonium, 88 miles per hour, and the board’s date/time settings. It could be an omen, brilliantly lampooned in Wayne’s Worldwhere a security guard (chris farley) gives very specific information about who is in the limo and what their route will be, prompting Wayne (Mike Myers) to turn to the camera and say, “For a security guard, he had a lot of information, don’t you think?” A monologue can also drop a key plot point and/or twist (think Orphanwhen Dr. Varava (karel roden) tells Kate (Vera Farmiga) that (SPOILER) Esther (Elizabeth Fuhrman) is actually a 33-year-old woman, not a 9-year-old orphan). There is more, of course, but what is true, regardless of his intention, is that the monologue gives the actor a space to bring his character to life, to make it his own. These are just a few examples of actors who jumped at the chance and took advantage of it.


Jaws (1975)

A night of revelry aboard the Orca between the three men aboard takes an abrupt turn, when Brody (roy scheider) Quint asks (Robert Shaw) on a tattoo that has been removed. Thus begins Quint’s account of the USS Indianapolis, the ship he was stationed on that dropped the Hiroshima bomb, and how the ship sank, leaving the survivors as shark bait. Shaw grabs control immediately, controlled delivery of it, but unsettling nonetheless. You feel like Shaw’s Quint may not have died, but the sharks took a piece of him, and the sightings of him out of a shark’s eye are chilling. is the perfection

Austin Powers: International Man of Mystery (1997)

The brief summary of the life of Dr. Evil (Mike Myers), told in a group therapy session, is a masterclass in commitment to character. The entire monologue is ridiculous and absurd, but Myers accepts and does not destroy the moment by acknowledging the madness. He says the lines earnestly, as if the facts are absolutely true, making the moment all the more fun.

Independence Day (1996)

It’s cheesy? Yes. So much so that if the film had been released in the early 1970s, it may have earned recognition in Monty PythonCheese shop sketch. But damn the cheese: pullman billas US President Thomas Whitmore utters it with such conviction and passion, you felt like you wanted to jump up and fight alongside him.

Dirty Harry (1971)

“Did he fire six shots, or only five?” Clint Eastwood he was the epitome of cool, with his narrowed eyes and scratchy, no-nonsense directness, and the role of Harry Callahan in Dirty Harry It was the perfect union of actor and role. Set in San Francisco, the entire city lives in fear of the “Scorpio Killer” (andrew robinson), a crazed maniac who has been killing citizens and taunting the police with ransom notes. Harry has been assigned to the case, which ultimately leads to a confrontation with the killer, where Harry says the iconic “You have to ask yourself a question. Do I feel lucky? Well, you punk?”

RELATED: From ‘Independence Day’ to ‘2012’: Why We Like Disaster Movies

Pulp Fiction (1994)

Delivered as unique Samuel L Jackson may. It’s a paraphrased Bible verse, one that Jackson’s character Jules uses every time he’s about to kill someone, because he just thought it was cool to make the passage the last thing his victims would hear. . However, Jules says that the most memorable moment is at the end of the film, where he and Vincent (John Travolta) have their breakfast at the Hawthorne Grill interrupted by two bandits who rob the restaurant. Disarming the two, Jules stares at Pumpkin (Tim Roth) and recites the passage again, slowly and methodically, leaving Pumpkin with the knowledge that earlier that day, Jules would have blown him away, but he has chosen to become a better person.

Clueless (1995)

Mr Hall (wallace shawn), a debate teacher, poses a debate in class between Cher (Alice Silverstone) and amber (Elizabeth Donovan). The topic: Should all oppressed people be allowed refuge in America? Cher is given the pro position, and she sets up one of the strangest, yet accurate and accurate storylines of all time. Cher compares the arrival of the Haitians (which she pronounces hate-tee-ins, perfect for the character) to a garden party he threw for his father’s birthday. It was an RSVP event, but people showed up who hadn’t RSVPed. Instead of kicking them out, Cher explains that she moved a few things around to accommodate the extra guests, and it all worked out, and the government could do the same. She then ends her argument with the classic: “It doesn’t say RSVP on the Statue of Liberty.”

The Great Dictator (1940)

The great Dictator it is charlie chaplin‘s first sound film, a scathing but humorous indictment of adolf hitler and Germany at the beginning of World War II. Chaplin plays two roles: an anonymous Jewish hairdresser and Adenoid Hynkel, ruthless dictator of the fictional land of Tomainia. Hynkel has plans to invade Osterlich and then take over the world. A series of events culminates in the barber, who looks exactly like Hynkel (and, wink, wink, the spitting image of Adolf Hitler), is mistaken for the dictator and uses this to reverse Hynkel’s anti-Semitic policies and proclaim both Tomainia like Osterlich. be democratic and free nations. In doing so, the barber as Hynkel delivers one of the greatest speeches of all time, not only in film but in history. For more than three minutes, Chaplin delivers a beautiful and passionate speech about, in a nutshell, how people are better. But that’s just a lazy summary. It is virtually impossible to pick a single sentence from this speech that is not meaningful, true, and timeless.

Boulevard at Sunset (1950)

Joe Gillis (William Holden), a down-on-his-luck screenwriter, gets a flat tire in front of a large, seemingly abandoned mansion. He walks up to the mansion, where he meets Norma Desmond (glory swanson), a long-forgotten silent movie star. Learning that Joe is a screenwriter, Norma asks him to look at a script she has written, hoping to revive her failed career. The script is horrible, but Joe needs the money, so he convinces them to hire him as an editor. As the film progresses, we learn that Max keeps alive his belief in his fame (Eric Von Stroheim), who sends him fan mail, and sees Joe fall into a romantic entanglement with Norma. In the end, Joe breaks down and tells her bluntly that she’s not famous anymore. As she leaves, Norma shoots her from behind, a final act before she breaks from reality and falls into the illusion.

And that’s where we find his monologue. Believing the press and police at his house are working on his new movie, he walks up to the camera and says the chillingly iconic “Okay, Mr. DeMille, I’m ready for my close-up.”

The Silence of the Lambs (1991)

Clarice Starling’s first meeting (jodie foster) and the infamous Dr. Hannibal Lecter (Anthony Hopkins). It’s the first time we’ve been introduced to the doctor, and what a first impression: unblinking eyes, slight smile, courteous and yet terrifying. Then he launches into the “rube” monologue. Upon first hearing it, it sounds like Lecter is being incredibly rude, making fun of everything about Starling. The real reason, though, is that Lecter tests the young agent’s mettle. He has no desire to talk to anyone in the FBI that he deems unworthy, and Starling’s refusal to retract his comments earns him respect.

Bill and Ted’s Excellent Adventure (1989)

Bill S. Preston, ESQ. (alex winter) and Ted “Theodore” Logan (Keanu Reeves) need to pass their history report, or else their gang Wild Stallyns will die Oh, and the whole fate of the world is counting on them, otherwise the future brings a more hateful ending. They travel back in time, collect historical characters and end up presenting the most elaborate historical report. Nothing sums up his adventures better than the words of Abe Lincoln (Roberto V. Barron): “Be excellent to each other… and keep the party going, folks!” It has a doorbell that “four twenty-seven years ago” it cannot ring.


How 1971 movies like ‘Dirty Harry’ and ‘Shaft’ cemented the cop on the loose and his complicated legacy

read next

About the Author

Leave a Comment